Changes in the body,glaze and enamel compositions of early Meissen porcelain, 1723–c.1740

The evolution of early Meissen body, glaze and colorant compositions is examined using X-ray fluorescence spectroscopy (XRF) measurements on three artefacts that can be accurately dated to the period 1723–c.1740. The results are interpreted based on recipes recorded in the earliest documents of the Meissen archives. The pure Aue kaolinite contains low levels of Ti and can be distinguished from secondary clays, for example, clay from Colditz. The excess Ti in the glaze versus the body reported earlier and confirmed by the present authors is explained by the exclusive use of Colditz clay for the glaze, as described in the recipes before 1730, providing a terminus ante quem for Meissen porcelain exhibiting this particular asymmetry. After 1730, the presence of elevated Ti in the body could serve as a marker for the experimental admixture of clays to Aue kaolinite to alter its properties. Based on the detection of As, Ba and Bi, it is suggested that smalt from Erzgebirge was the colorant for blue enamels until at least 1725.     

Property and ‘publicness’: bishops and lay‐founded churches in post‐Roman Hispania

Accounts of how the church fits into broader narratives of socio‐economic change have been confused by two different issues: an unsystematic application of the terms ‘public’ and ‘private’ to various phenomena, and a separate tendency to elide the ‘public’ with the state. Visigothic thought on lay‐founded churches shows that the legal regime around ecclesiastical properties did not aim at simply enhancing episcopal power. Laypeople had important responsibilities and powers, especially in resisting bishops’ capacities for ‘private’ appropriation of donated property. There existed a sense of communal concern for church property, which was thought of as ‘public’ without reference to the state.     

Historicising Material Agency: from Relations to Relational Constellations

Relational approaches have gradually been changing the face of archaeology over the last decade: analytically, through formal network analysis, and interpretively, with various frameworks of human-thing relations. Their popularity has been such, however, that it threatens to undermine their relevance. If everyone agrees that we should understand past worlds by tracing relations, then ‘finding relations’ in the past becomes a self-fulfilling prophecy. Focusing primarily on the interpretive approaches of material culture studies, this article proposes to counter the threat of irrelevance by not just tracing human-thing relations but characterising how sets of relations were ordered. Such ordered sets are termed ‘relational constellations’. The article describes three relational constellations and their consequences based on practices of ceramic fine ware production in the Western Roman provinces (first century BC–third century AD): the fluid, the categorical and the rooted constellation. Specifying relational constellations allows reconnecting material culture to specific historical trajectories and offers scope for meaningful cross-cultural comparisons. As such, a small theoretical addition based on the existing toolbox of practice-based approaches and relational thought can impact on historical narratives and can save relational frameworks from the danger of triviality.     

Our land is our voice: First Nation heritage-making in the Tr’ondëk/Klondike

Abstract

The subsistence lifeways of the Tr’ondëk Hwëch’in, a First Nation in northwestern Canada, were radically challenged by the arrival of settler colonialism during the Klondike Gold Rush (1896–98). This Yukon First Nation has subsequently faced down a powerful array of Western heritage activities and commemorations, both local and national, designed to absorb them into modernity. Through a conscious and continuous programme of heritage-making, the citizens of the First Nation have re-asserted their territorial sovereignty and maintained and adapted their cultural identity to changing circumstances. Their heritage-making strategies are illustrated through a review of their call for a treaty, the creation of new instruments for carrying and expressing their cultural identity and their more recent programme of support for the survivors of the Canadian Government’s Indian Residential Schools.     

Second World War bomb craters and the archaeology of Allied air attacks in the forests of the Normandie-Maine National Park,NW France

Well-preserved bomb craters in the forests of central Normandy, NW France, constitute archaeological legacies of combat inland from the D-Day beachheads that greatly extend the inventory of Second World War conflict landscapes in northwest Europe. Field survey and analysis of German and Allied documents demonstrates that bombscapes in the Forêt domaniale des Andaines and Forêt domaniale d'Ecouves reflect US Ninth Army Air Force attacks on a German fuel depot and radar installation, respectively, during June-August, 1944. One hundred and thirty-six craters are mapped, described and linked to specific air raids, bomb types and, for one raid on the 13th June, six specific participating aircraft and aircrews. These landscapes echo the impact of widespread tactical bombing against targets close to civilian population centers, and in some cases employing civilian and PoW labor. They are therefore well-placed to contribute to wider heritage narratives around the non-combatant experience of aerial warfare in WWII.     

Analyses of Early Medieval Stained Window Glass From the Monastery of Baume‐Les‐Messieurs (Jura,France)

The collection of early medieval window glass found in the abbey of Baume‐les‐Messieurs (Jura, France) is exceptional because it dates to the end of the eighth century, and due to the number of fragments as well as their state of conservation. Different colours and forms have been identified. These pieces are a rare opportunity to address the glass craft, its recipes and techniques for a phase of its history that has remained little known. Analyses in PIXE–PIGE prove that, in addition to fragments from two soda glass items, the pieces are made from wood‐ash glass. Most of them probably came from the same production and the raw material is present in the region. At this early stage of wood‐ash glass production, the glassmakers had mastered the glass as well as the colour processes.